Don't panic Steve, I've also bought one - I haven't added to the conversation as you guys had summed up the issues (& good bits) fairly well.

I have a feeling that the zoom function will work with any lens - I don't think the prime in the video had a electronic adapter. At least I'm really hoping this is the case - it would mean the the Viogtlander M4/3 & Sanyang M4/3 lenses couldn't make use of this feature.

Being able to have some preset VSM settings assigned to buttons would be useful - although I'd then have to make some hard decisions on what to leave off the buttons.

I's also like to see some negative gain/lower ASA settings available. I believe this has been added to the JLOG but not the other settings. I'm still having to add external ND filters if I want to open the iris up beyond f4/5.6 on a sunny day.

Yeah, I agree, I can't see why the zoom function wouldn't work with dumb lenses, but then I don't understand the technology of how the mapping thing will work. But I'd love to be able to use it with my 17.5 Nokton, I could shoot almost all day with that one lens.

I also hope that the feature will work with external zoom controllers, I have an old cheapo one I bought with my XL100 that I've side mounted on the 15mm rod base in anticipation of the upgrade - which now they're apparently saying is October - I don't mind, just so it's bug-free when it's available.

I've shot a lot in the last week, all "tests", nothing for prime-time, but I'm really liking what I'm seeing. I've been shooting 1080 4.2.2. 50mbps and the images look great right out of the camera, very similar to the results I've gotten with the BM cameras shooting "film" mode and crunching with FilmConvert... I'm always amused by those who call for more dynamic range and then wipe it out applying FilmConvert (even after cranking down FC's gamma)... If I can get that look out of the box without having to dick with grading or DaVinci I'm a happy man.

BTW, I make documentaries exclusively, even my TV spots are docs - so I don't have, or want, the same standards that many narrative filmmakers have - but that doesn't mean I don't want good looking, effective images, and this camera - for me - is producing really good looking images.

As the 'prime zoom' feature is operated via the zoom demand, then it must surely work via the Lanc control too. I've got lots of old Varizooms from PD150 days.

By the way as you guys have seen, the videos I linked to earlier suggested how the Histogram and Spot Meter functions are switched on. He seemed to be using the joystick to replace the audio meters with the Histogram and so on.

I guess that's OK, there's only so much room on screen. Perhaps it also has an affect on processor overheads. I often leave audio levels set and listen for peaking rather than watching, so having one or the other isn't so bad.

Still no response for Hoodman US or UK regarding the loupe setup.

I'm pretty positive that I want lens stabilisation. I can see myself shooting much more handheld with this thing, where I'd often end up in tight spots, odd angles and so on. Micro shakes soon set in. So I think the Lumix OIS lenses will be my first choice, and hopefully this new zoom function will get me a bit more 'reach'.

Adding my name to the list of camera owners. As far as I've been able to find, this forum is the most active user's group for this camera, but please let me know if there's somewhere else I should be checking out, as well.

So far I'm quite pleased with the look and functionality of the camera, and I'm still working my way through the various settings trying to come up with the best combination for my needs. My primary use is talking head interviews. I spent some time last week looking how the settings affect things when shooting a test chart, but I really need to get someone in front of the camera to put it through its paces in a systematic way. And of course the new firmware update will give us some new options to consider, as well. I'd love to see a better ability to handle highlights, for example.

Dave, actually compared to cameras as short a time ago as 4-5 years, the highlight handling is pretty good on the LS300. At least it doesn't have that ugly chroma clipping the Panasonic cameras have suffered from (HVX200a, HPX500, HPX250, AF100, all of which I've owned) - it got worse through the generations - HPX500 and AF100 were the worst.

I've set my clipping level at 108%, and using Cine Gamma (not WDR because it clips at 100%) I'm getting pretty pleasing high ends - be aware that I'm a 40 year 16/S16 veteran, so I'm not put off by things like windows blowing out - in fact I like that look. I watched a BBC production a few weeks ago that held detail outside windows so well that it was distracting and pulled the eye away from the subjects in the room.

I set mine at Black Level 0, Cine Color Subdued, Detail -5 (will go lower, probably around -10), Knee automatic. I haven't custom adjusted the knee because I'm waiting for the new firmware before I experiment more.

BTW, and this is totally my opinion which many don't share, nearly every camera I've owned recently looks better with the ETTR philosophy - But being from film and Panasonic cameras like the HPX500, I tend to ETTL slightly. Seems to work better with this camera too. It saves the highlights and there's actually still a lot of detail in the blacks that can be pulled up if needed (but, again, old 16 film guy, I like black blacks, that's why I use FilmConvert with my13 stop DR Pocket Cameras)..

Yeah and that is not a native MFT lens (well it might be native in the sense that it has an MFT mount, but it's not native to MFT), nor is it a smart lens... hope springs eternal... now if they would just actually release the firmware - but as I said above, it's better they get the bugs out first...

OK, gotta say I'm really liking this camera. I have it set up with the Gratical side mounted and a Movcam LANC grip (pirated off one of my Pocket Cams) on rods. I can't tell you what a pleasure it is to not have to be carrying around a pocket full of ND filters and extra batteries for the camera and a audio pre-amp.

I've been shooting with the 12-40, set at either 87%-92% for wide or in the 50s if I want a little more reach. There is some noticeable noise in mid-range shadows in the low 50s, but it isn't horrible and for most things I can live with it. It's a very nice way to work - super light camera and lens combination - and fantastic images

And speaking of audio, I tested the 300 against my C100, using identical mics, and the 300 is at least as good, maybe better. I tested using a Rode NTG3, Sennheiser 416 and an old Audio Technica that I've used as a nose mic forever. Sennheiser, as always, was the winner - I don't know why people are always saying the Rode is just as good, it isn't - in fact my 25 year old Audio Technica came in second ahead of it, at least by my ears. FYI, Pocket Camera with JuicedLink pre-amp is and always has been s__t.

Bottom line, this is a fantastic camera for the price - now, make it better with that firmware update por favor...

Interesting that the 12-40mm can be set that wide on the VSM, the Pany 12-35 needs to be set to 80% or it will vignette at the wide end.
The Oly 14-35mm f2 can be set to 86-89% - it's a great bit of glass but does make the cam quite front heavy. The Oly 35-100mm f2 is so large and heavy that it's impracticable to use handheld - there is also a problem with the lens communicating with the camera sometimes (manual focus wont work, have to power the cam off & on to get power back to the lens - the joy of focus by wire)

I've also added a viewfinder (Alphatron) and a LANC handgrip (Tilta) - it has made the LS300 a very usable small package.

The Olympus 12-40 will actually handle 92% with just a slight vignetting in the bottom right corner, doesn't show up on TVs, but does on computers or projectors... Set at 92% the lens is essentially a 9-10mm,, pretty useful,, And with his camera you can easily and quickly dial it up... I'm having fun again,,,

BTW, Rohan, I have an old surfing buddy who lived in Canberra, John Beaton PhD... He was chief archeologist at the university there.. Always meant to visit him, but never made it...

Yeah, I know, we both gave up surfing in graduate school... we were both at UCLA and other things just got in the way. With the LA traffic the beach is about 2 hours away there too.

I don't know those zooms you mentioned... One thing that is bothering me is that (as I said somewhere above) lenses that "act" parfocal on the C100 and the Pocket Cams need to be refocused with the LS300 when you pull back. What's weird about that is the Olympus and Lumix lenses (12-40 and 35-100) require a slight counter-clockwise turn, and the EF lenses (24-105 and 17-55) require a slight clockwise, so it's not the camera's lens mount... Apparently there's some electronic "focus by wire" happening on the other cameras and not on the LS - and refocusing at 12mm at f4 or above requires a really good EVF.

Also, another weird thing is the Canon EF 24-105 is an excellent lens on the C100, I use it 90% of the time with that camera. For some reason it's just not that sharp on the LS300. And it can't be the Metabones adapter because it doesn't have any glass. I'm going to try another cheapo adapter I (one with a built-in iris) have later today and see if there's any difference.

Sadly I have another issue. I shoot docs exclusively, and like to set up my camera with the nose mic (Audio Technica) on CH1 and a Lectrosonic wireless on CH2 so my soundman can cruise separately. That way I can get good audio from two sources at once and chose channels later.

I have a shoot later this week and was setting up my wireless, and discovered that my camera isn't recording from CH2. It shows on the VU and I can monitor only CH2 in headphones, but for some reason the channel isn't recording. I've tried switching back and forth between mono and stereo in the system menu with no luck. I've tried hardwiring into CH2, but still nothing records.

This is very weird. Any ideas anyone?

My first camera was locked on "Lolux", my second had a diopter that couldn't be adjusted and now the third is only recording from one audio input. I've registered the camera this time, so I can't return it to the dealer.

I really like this camera a lot, but JVC has got to get their quality control act together.

Thanks, but I did try that, although I assumed since I was seeing it on the VU and able to monitor the channel that probably wasn't it.. But I did discover the problem... Well it's not a problem, it's a quirk that hopefully can be fixed with firmware unless it's just my camera..

I was set at 24P, I always shoot 24P except for some TV spots. Just for the hell of it I switched to 30P... and it works... No big deal, I'll shoot this job 30P (no one except film types notice the difference anyway).

Do me a favor when you get a chance and see if your camera will record discreet mono tracks in 24P.